studio460

<p>A few months ago, I bought one of these LED ringlights: http://www.bhphotovideo.com/c/product/913459-REG/stellar_lighting_systems_stl_232r_rig_light_led.html. While the output wasn't bad for an LED unit, its color temperature was so horrible, I immediately returned it. A few years ago, I bought a cheaper LED ringlight from Samy's Camera for $60 (which I still have), and its color output is pretty flawed as well.</p> <p>Based on my experiences, I doubt you'll find an LED ringlight with decent color output unless buying from a major-brand lighting company (e.g., LitePanel's LED ringlight [about $2,000], or KinoFlo's fluorescent-based Kamio ringlight [about $1,000]). I think a better alternative to any of the import-brand LED units is the RayFlash Speedlight adapter, which turns your existing Nikon or Canon Speedlight into a ringlight. These are cool since you also retain all of your Speedlight's TTL capability.</p> <p>For a true ringlight, AlienBees' ABR800 is a quality, 320-Watt second strobe unit that's reasonably priced at only $399. This unit has a lot of fans and is capable of producing some excellent images. Their unique "Moon Unit" attachments produce some of the nicest ringlight images I've seen. It's AC-powered, so you'll need access to 120VAC house-power, or an AC-inverter like the Paul C. Buff (PCB) Vagabond Mini-Lithium (VML). Personally, I haven't had good experiences with the PCB VML Li-ion batteries (I've had two die on me so far and have since switched to other systems).</p> <p>One of the best portable DC-powered ringlights is the Elinchrom 400-Watt second, Ranger Quadra ECO ringlight. They're extremely lightweight, and pack a lot of punch. These were on sale only a few days ago for only $399 at B+H (head only-no battery pack), but have apparently just gone back up. Now, a complete system will set you back about $2,000, since it needs to be powered by Elinchrom's pricey Ranger Quadra battery pack (these systems were also on sale a few weeks ago at Adorama, but unfortunately have also since gone back up).</p>

<p>Pete said:</p> <blockquote> <p><em>BTW, with a shotgun mic like the AudioTechica AT8035 how close do you have to be with the mic to the subject? I mean would it be possible to have it on the camera? And how sensitive is it to the direction of the sound?</em></p> </blockquote> <p>It's a fairly directional mic. As I recall, it's good for several feet, perhaps 6-7 feet. But it's a fairly large (long) mic. The common application for DSLR use is to attach short-shotgun mics using a shock-mount (sold separately) to an accessory bracket. BEC and RedRockMicro make brackets just for this purpose, but are fairly expensive. Short-shotgun mics are also typically held by a boom operator on a carbon-fiber "fishpole," using a wireless transmitter on a belt-pack. Add all this stuff up and it tends to get pretty expensive. A decent consumer-grade shotgun (try to find one which includes a shock-mount) should probably do the trick for hundreds less.</p>

<p>Bob said:</p> <blockquote> <p><em>For traveling light I use an old D5000 with 1 or 2 lenses. It just feels so much lighter than carrying the D7000, especially if its for all day long . . .</em></p> </blockquote> <p>I know! My D7000 now feels like a brick compared to my D3200/3300 bodies. I haven't even touched my D7000 for months, if not more than a year. Luckily, I have my D7000 as a working rental right now doing a multi-week time-lapse.</p>

<p>Pete said:</p> <blockquote> <p><em>. . . I'd like to add some video capability though, but have no idea how to do it in downsized way. I mean GH3 does awesome video but I'd probably need to bring a tripod with a suitable head and also some way to do decent handheld shots and probably a shotgun mic. If anyone has any suggestions on equipment I'd like to hear them.</em></p> </blockquote> <p>Interesting that you say that, because for video, I initially thought about getting a new GoPro. But, duh, I'm just going to use my Nikon D3300 DSLR which shoots excellent video. On our last trip, I shot some video on my D800E. I thought it would be boring, so I only shot for a few seconds at a time, but it was so much fun to watch when we got back that on this next trip, I plan on shooting a lot more video during our hikes together.</p> <p>Since I only have D3200/D3300 bodies, I can't tilt the rear screen, so I just shoot "blind" (with an UWA mounted). Using slight tension on the neck strap provides a good lens-height as well as isolates shock from walking. But I think a D5300/D5500 would make a really great vacation video camera with its tilting rear LCD. As for a good shotgun mic, anything I can suggest would likely be overkill (e.g., AudioTechica AT8035, $279). But try looking for any powered (e.g., 'AA') short-shotgun <em>condenser</em> mic (e.g., from Sony, AudioTechnica, Rode, etc.), and it should perform significantly better than the camera's built-in mic.</p>

<p>Pete said:</p> <blockquote> <p><em>I think m43 cameras are a better compromise when looking for low weight and small . . .</em></p> </blockquote> <p>Certainly, there's some really nice micro-4/3rds systems out there, but when I priced out what I wanted a while back, it was a fortune. In my past attempts to downsize, I've since gone through two different APS-C mirrorless-ILC systems, a Nikon Coolpix 'A', and, now my new Nikon 1 J4 (which is really just for its underwater housing).</p> <p>But I finally realized that the low-end Nikon DX bodies are a perfect solution, at least for me. I actually enjoy shooting with my Nikon D3200 more than my D<em>f</em>! It's got the quietest shutter of any body I own, and feels like it weighs nothing! Plus, I get a real OVF (albeit, just a pentamirror), but most importantly, a "standard" DSLR is made to accept available after-market Hoodman eyecups, which <em>don't</em> fall off. These eyecups are awesome--they just won't come off like the Nikon slide-on kind: <a href="http://www.bhphotovideo.com/c/product/545626-REG/Hoodman_H_EYEN22S_HoodEYE_Eyecup_for_Nikon.html">Hoodman H-EYEN22S</a></p> <p><img src="http://studio460.com/images/D33-1.png" alt="" width="700" height="466" /><br /> Hoodman H-EYEN22S rubber eyecup for Nikon DSLRs with 22mm-square viewfinders: $19.99</p>

<p>A large reflector resembles the effect of a similarly sized softbox, so that would be my choice. Place your subject's back to the sun, and key your subject with a reflector. A 36" foldable reflector would be the minimum required for a hard-and-shoulders shot; however, flexible reflectors are difficult to keep flat (needed for even illumination).</p> <p>Frame-and-panel reflectors are best, but pricey (e.g., Lastolite Skylite Rapid, California Sunbounce, etc.). My favorite are the Matthews' expendable Matthboards. You can see the reflection of a Matthews' 40" x 40" Matthboard reflector (fill version) in the subject's sunglasses below. This image was taken two weeks ago at about 3:00PM in Los Angeles:</p> <p><img src="http://studio460.com/images/Yuki-Matthboard-2.png" alt="" width="700" height="467" /><br /> Key: 40" x 40" Matthboard (fill version); no flash.</p>

<p>Peter said:</p> <blockquote> <p><em>I'd add a 35mm f1.8 DX to that travel kit. </em></p> </blockquote> <p>Certainly not a bad idea, since I happen to own one. It's small enough not to really matter (though, I'd <em>really</em> love that new AF-S Nikkor 20mm f/1.8G for use on a DX body as a 30mm-equivalent "everything" lens.).</p>

<p>If I were planning to purchase a DX system today from the ground-up, this would be my ideal DX lens set-up:</p> <p>• Nikon D3200/3300/5300/5500 body 'A' + Sigma 18-35mm f/1.8 HSM ($799 USD).<br />• Nikon D3200/3300/5300/5500 body 'B' + Sigma 50-150 f/2.8 OS HSM ($800-$1,000 USD, used; discontinued).</p>

<p>Eric said:</p> <blockquote> <p><em>an UWA and a long tele is all that's probably needed . . .</em></p> </blockquote> <p>I think that's true, as I'm taking fewer and fewer lenses on each trip. During our last trip, I only took a 16-35mm VR and the 70-300mm VR with us on our daily outings. On a previous trip, I brought several lenses, but ended up shooting primarily with the AF Nikkor 14mm f/2.8 (I left a 50mm f/1.4 and a 60mm macro in the hotel room). I took only a couple shots with the 50mm at the hotel, and never even mounted the macro. Since then, I've been shooting UWA and long-lens shots almost exclusively while on vacation:</p> <p>Nikon D800E + AF Nikkor 14mm f/2.8D:<br /> <img src="http://studio460.com/images/kauai-14-2C.png" alt="" width="700" height="466" /></p> <p>Nikon D800E + AF-S Nikkor 16-35mm f/4.0G ED VR:<br /> <img src="http://studio460.com/images/newkit-16-2.png" alt="" width="467" height="700" /></p> <p>Nikon D800E + AF-S Nikkor 70-300mm f/4.5-5.6G IF-ED VR:<br /> <img src="http://studio460.com/images/newkit-70-300-3C.png" alt="" width="468" height="700" /></p>

<p>Wouter said:</p> <blockquote> <p><em>Now <strong>THAT</strong> makes it a good deal . . . Seriously, enjoy the new toys!</em></p> </blockquote> <p>Ha! Thanks! The micro-sized cloth did come in a nice Vivitar clear wrapper. But if it's free, I'll take it--I like microfiber cloths! I don't have any valid CS licenses anymore (I use Pixelmater for OS X), so I may actually use Elements on another computer. These cameras are pretty fun.</p>

<p>Well, Mike, for me, "vacation" shooting has far different aesthetic goals, different from any other kind of shooting I do, so shallow depth-of-field won't be too high on the list anyway. The 70-300mm pushed all the way in with a distant background, however, does elicit some nice OOF images, even on DX.</p> <p>Last time, I did also bring an AF-S 50mm f/1.4G, but only took a few pictures with it at the hotel bar at night. This time, I'll probably just do some tripod-ed, slow-shutter + flash shots for night stuff. The first time I brought my D800E, I really only used an AF Nikkor 14mm f/2.8D and the 70-300mm for most of the trip. Don't feel too bad about the deal--it was gone within a few hours.</p>

<p>Jon said:</p> <blockquote> <p><em>I'm a big fan of Nikon's tiny SLRs. They're light, well-built, give excellent results and if something happens to it you're not out a lot of money . . .</em></p> </blockquote> <p>I agree! These cameras are fun, capable, small, light, and have the latest DX sensors (no OLPF either!). I love 'em. If you're keen on also getting the new 18-55mm VR II kit lens ($250, if purchased separately), look for refurbished Nikon D3300 bundles from certain online resellers. I got my D3300 + 18-55mm VR II lens + a shrink-wrapped copy of Lightroom 5 for $399 (they were selling the two-lens kit for only $499). I really like the D3300's tough, new, carbon-fiber monocoque design as well. Also, the increased frame-rate to 5-FPS is pretty cool!</p>

<p>In my experience, the best bang-for-the-buck, short-shotgun mic is the AudioTechnica AT135b, which I think has either been replaced or re-named as the AT8035 (about $270). Professional shotgun mics are uber-expensive; e.g., Sennheiser 416 or MKH-60 ($1,000-$1,500), but this directional AudioTechnica condenser mic is a good balance between price and performance.</p>

<p>In an attempt to travel lighter/smarter, here's the bodies and lenses I'm planning to take:</p> <p>Bodies/lenses:</p> <p>• Nikon D3300 + Sigma 10-20mm f/4-5.6 EX DC HSM.<br /> • Nikon D3200 + AF-S VR Nikkor 70-300mm f/4.5-5.6G IF-ED.<br /> • Nikon EN-EL14A batteries x4.<br /> • Nikon MH-24 chargers x2.<br /> • Nikon 1 J4 + 10-30mm f/3.5-5.6 VR kit lens/Nikon WP-N3 UW housing.<br /> • Nikon EL-E22 batteries x4.<br /> • Nikon MH-29 chargers x2.<br /> • Nikon SB-400 (takes x2 'AA' batteries).</p> <p>After vetting various sets of accessories through prior trips, this is my new "short" list:</p> <p>Photo accessories:</p> <p>• 67mm Nikon circular polarizer.<br /> • 82mm Tiffen circular polarizer.<br /> • Oben BA-2 single-lever ball-head (1.1 lbs.).<br /> • Oben CC-2300 three-section, flip-lock, carbon-fiber tripod (2.5 lbs.) + Op-Tech strap.<br /> • WhiBal 2" x 3.5" graycard with retractable clip (attached to CamelBak hydration pack).<br /> • Vfinder 3x loupe.<br /> • Rosco lens tissue/lens fluid/microfiber lens cloths.<br /> • 8-pack of 'AA' batteries.<br /> • Silica gel packs.</p>

<p>New travel kit!</p> <p>It's that time of year again, and I'm already planning my photo kit for my next trip to Kauai this coming summer (I always think, this too, is part of the "fun" of the trip!). Since it's the tropics, I'll be shooting virtually 100% daylight exteriors, so I won't need fast lenses. On my previous trips, I was like, "Why leave your best camera at home?" But after lugging a heavy Nikon D800E/MB-D12, expensive glass, plus an UW housing all around the island, I've been thinking of downsizing. Also, since there's a lot of rugged terrain, whatever camera I bring tends to get bounced around quite a bit. So, this time, I'm like, "I'll take two low-cost bodies so I don't have to worry as much." So, last year, I bought a refurbished Nikon D3200, and shortly after the new year, a refurbished Nikon D3300. At only one-pound each, they're very lightweight. Here's my new DX travel kit:</p> <p>• Nikon D3300 + Sigma 10-20mm f/4-5.6 EX DC HSM<br /> • Nikon D3200 + AF-S VR Nikkor 70-300mm f/4.5-5.6G IF-ED</p> <p>So, obviously, the thinking here is to shoot just the two extremes: Ultra-wides and long-lens, compression shots. Selfies and snapshots will be taken on a Nikon 1 J4 CX compact. After my first "waterproof" Nikon compact got completely water-logged, literally within the first ten seconds on the beach, I knew then that only a real UW housing could offer reliable protection. Since then, I've been wanting a new UW camera, but only one with a real housing. Thanks to a certain Nikon-centric rumor site, I found out about a great deal on a complete underwater compact set-up last week:</p> <p>• Nikon 1 J4 (new, not refurbished w/US warranty).<br /> • Sony 32GB microSDHC memory card.<br /> • Nikon WP-N3 UW housing for J4.<br /> • Vivitar microfiber cloth.<br /> • Adobe Photoshop Elements 12.</p> <p><img src="http://studio460.com/images/NikonUW-2.png" alt="" width="700" height="466" /></p> <p>Although I like the look of the new J5, this deal was too good to pass up. Plus, there's a few things that I like better about last year's model over the new J5. I bought this from the same online retailer that I got my Nikon D3300 bundle, and they didn't disappoint. Now, I'm a new CX system owner! The only thing I think I need now is some spare batteries.</p> <p>Regarding the housing, the Nikon WP-N3 is far more substantial than I thought (it's also huge!). It's every bit as good (actually, better) than an Ikelite housing, with custom, mechanical controls, including a knob-operated, zoom-barrel control. It has a securely designed closure system that's not too tough to open or close, though I wish they had included a spare gasket (the kit does include a small tube of silicone grease). I can see how these housings originally sold for over $500. If this deal ever shows up again, go for it!</p>

<p>Although I currently work in a related field (television), I've also been taking on more still work. Here's the recipe I've been following: First, target which types of jobs you want to do (events, interiors, food, headshots, etc.). Then, gear-up to be able to accommodate those specific types of shoots (since your gear complement can vary greatly among different types of jobs). Either develop a direct-marketing plan, or identify and contact the people that can find you work. Here's the most important part in my opinion: Try to do one gig for free in every type of shoot in which you plan to shoot for money (but shoot it like you're getting paid top-dollar). If you're successful, charge full-rate for the next one.</p>

<p>By the way, for a feature-length studio picture, the first payment on delivery of the treatment for first-time writers is about $25,000 USD (then, something like $50,000-$125,000 for the completed script--check WGA for current compensation agreements). If financing/producing independently, of course, everything could be on "spec" (they'll pay you later when the project "makes money"). "Points" are typically offered after all distribution and marketing costs have been paid (so, after all that, there may be no money "made"). If you do it independently, you'll need a good producer (think of a producer like a "general contractor," and the film as the "house" you're building). And, of course, investors ($$$). No matter how cheaply you do everything, making movies still costs a lot of money. Good luck!</p>

<p>I like it! But, personally, I think it'd be better as a feature film. There are many variations which specific stories could undertake, and as some have pointed out, similar script devices have been used in the past. Period production is more costly (cars, wardrobe, CGI for street-/set-extensions, etc.), but of course the material is more fitting to that time than present-day.</p> <p>There are a few ways to go:</p> <p>1. Pitch to a TV network's dramatic television division.<br /> 2. Pitch to a movie studio.<br /> 3. Pitch to an independent producer/production company who specializes in that genre.</p> <p>I've cold-called network decision makers in the past and was actually able to get through. TV decision-makers are easier to get to than a movie studio (movie studios don't generally accept unsolicited scripts). Although not mandatory, you would need an agent (tough to get without a track record). Mostly, a friend or relative in the movie business is how many get "in."</p> <p>Perhaps buy a couple books on screenwriting, or find a co-writer. If on your own, either download a script template for Microsoft Word, or buy a copy of Final Draft (highly recommended). Write a 120-page (or thereabouts) screenplay, then register a copy with the Writers' Guild of America (WGA, west, for those in La-La Land). I just checked--it's still only $20 to register a script with the WGA. Once registered, you've then got at least some protection for your idea (personally, I would avoid posting script ideas on public forums). Even before completing the script, you would first need to write two things: a treatment (a one-page "sizzle sheet"), and a logline: e.g., <em>Alien </em>(1979): "In space no one can hear you scream." Good luck!</p> <p>WGAwest registration form: https://www.wgawregistry.org/registration.asp <br /> Final Draft: http://store.finaldraft.com/final-draft-9.html?mkwid=sKVQJRBjj_dc&pcrid=39314169805&pmt=e&keyword=finaldraft&pdv=c&src=%5Boffer%5D&mm_campaign=4ba1af906554aede504a53d63e96a2c9&MarketingPartner=Google&AdType=CPC&gclid=CPHV55qgzcUCFUOVfgodAT4A2w</p>

<p>Beginning Studio Portraiture Set-up:</p> <p>I think just a simple, two-light set-up would get you off to a great start:</p> <p>1. A single 3' or 5' octabox for your frontal key (octaboxes make pretty, round catchlights).<br /> 2. A single 2' x 3' (or thereabouts) softbox, or 1' x 3' (or thereabouts) striplight with a fabric eggcrate for your backlight.<br /> 3. Two, 200 Watt-second AC-monolights (200Ws is just about the right power for most home studios).<br /> 4. Four 8-foot light stands.<br /> 5. Two grip-heads (place upside-down on two of the light stands to create a backdrop system).<br /> 6. A 10' length of 1/2" electrical conduit (holds a roll of 9' seamless paper).<br /> 7. A roll of gray seamless paper (Savage's "fashion gray" is a nice, neutral light-gray).<br> 8. Four 15-lb. sand- or shot-bags.</p> <p>To avoid needing a second frontal source as a fill, start off by keeping your main key nearer to camera (i.e., near center). Just don't place your key too far off-axis. I think this is one of the most common problems people have when starting out--attempting to elicit too much modeling by placing the key too far to the right or left of camera.</p> <p>In fact, as evidenced by so much of fashion and beauty being shot with the key directly over the lens (so-called "butterfly lighting," because its characteristic nose-shadow resembles the shape of a butterfly), a centered-key (or near-centered) is virtually a sure-fire recipe for great results right off the bat without a lot of fuss. Sure, you can move off-axis a bit to create some shadow, but just be careful not to overdo it.</p> <p>If you can't afford to get two strobes and two softboxes right away, just start off with one. I think you'll learn fastest, and will be better able to internalize the knowledge by doing: Start with an adequately sized softbox for your frontal key, and begin with the key centered, over your lens (or, slightly off-center if using a larger softbox and need to fit you and your camera under/beside it), and set the mid-point of the softbox positioned about two feet above your subject's eyeline. Then, also try varying its placement off-axis up to about 30 degrees (but no more). Find a willing subject and, shoot, shoot, shoot. A large, single key can do a lot all by itself (a gridded 2' x 3' softbox was also used as a backlight in the image below, but no fill-source or reflector was used):</p> <p>Single-key example:</p> <p><img src="http://studio460.com/images/elinchrom69-J2.png" alt="" /> <br /> Nikon D3s + AF-S Nikkor 85mm f/1.4G; ISO: 100; f/2.8 @ 1/200th.<br /> Elinchrom ELC Pro HD 500 @ minimum power (7 Watt-seconds) + Elinchrom 69" octa + frosted deflector.<br /> Background: Savage "Thunder Gray."</p>

<p>I said:</p> <blockquote> <p><em>My next project is casing my Elinchrom monolights and other various studio strobe gear. Ideally, I'd like pack six Elinchrom D-Lite RX2 200Ws monolights into a single Lightware soft case . . .</em></p> </blockquote> <p>Well, instead of bulky Lightware cases, I found these slim, Elinchrom hard cases. They even fit my Speedotron Force 10 monolights quite nicely. Finally, I have a solution for packing my monolights, and won't have to worry about them when throwing them into a van:</p> <p><img src="http://studio460.com/images/Elinchromcase-4A.png" alt="" width="700" height="466" /></p>

<p>You're welcome! Again, your work is quite beautiful! However, since selling unsolicited work on the internet is a bit of a shot in the dark, I would recommend alternative marketing avenues: soliciting local hotels, bars, restaurants, corporate offices, etc. (though, still a hard sell). Another idea is to print framed copies of your work and display them in whatever nicely styled interiors you can gain access to, and shoot your work hanging in these interiors (sort of like you'd see in an issue of <em>Dwell</em> or in an Ikea catalog), using those final images to complement your website selling pages. More difficult to pull off, but would show your work more in-context.</p>

<p>That's a pretty awesome kit, Ellis! Which Joker do you have for your K5600 Big Eye? Let's see some more of everyone's bags!</p>

<p>Meters indicate correct exposure for middle-gray (i.e., "Zone V" using The Zone System). If your meter reads "f/5.6," this simply means, if you were metering to shoot an 18% gray card, your meter reading would indicate the proper exposure to obtain resulting value or "step" equal to that same value, "middle-gray" once in your edit. (In the film days, exposing/processing an 18% gray card* correctly on black-and-white negative film could be verified by measuring your negative with a densitometer, resulting in a density reading of "0.75" [i.e., the mid-point between clear and opaque]) Caucasian skin is typically around Zone VI (i.e., one-stop above middle-gray). Portraits which tend to be more flattering are often exposed a bit further than Zone VI (generally as hot as possible before losing highlight detail), thus adding as much as another whole stop above the meter reading.</p> <p>*[There is some debate about the precise definition of 18% gray--see Thom Hogan's article here: <a href="http://www.bythom.com/graycards.htm">http://www.bythom.com/graycards.htm</a>]</p>

<p>Packing monolights:</p> <p>My next project is casing my Elinchrom monolights and other various studio strobe gear. Ideally, I'd like pack six Elinchrom D-Lite RX2 200Ws monolights into a single Lightware soft case (I only shoot locally and don't need to air-pack anything). I also have two Speedotron Force 10 monolights and two Dynalite Uni400s. The Force 10s will go in one case, the Dynalites in another, but I would really like all six Elinchrom strobes to fit into one Lightware case if possible. Does anyone have six similarly sized heads fitting into a single case?</p>

<p>I also wanted to show off my Domke bag which I find very functional for small kits. Often, I'll just carry two D3s bodies on their factory straps, with no cases (if I need to stay mobile, perhaps also a ThinkTank lens pouch on a Lindcraft belt to hold an extra lens). But when on vacation, and I want a little protection, I'll use my airline "carry-on pack:" a single body with three primes and a Nikon SB-600 (plus an SC-29 or SU-800), all in my beloved Domke bag:</p> <p><img src="http://studio460.com/images/NikonDomke-4.png" alt="" width="700" height="467" /></p>